Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

OPERA TODAY ARCHIVES »

Reviews

Arrigo Boito, Mefistofele
23 Aug 2009

Boito: Mefistofele

The bravura performance by Ferruccio Furlanetto in the title role is spoiled by the kitschy and incoherent staging of this production. Mefistofele is unique among operas based on the Faust legend in that it rather closely adheres to Goethe’s version.

Arrigo Boito, Mefistofele

Mefistofele: Ferruccio Furlanetto; Faust: Giuseppe Filianoti; Margherita/Elena: Dimitra Theodossiou; Marta: Sonia Zaramella; Wagner/Nereo: Mimmo Ghegghi; Pantalis: Monica Minarelli. Stefano Ranzani conducting. Stage Director: Giancarlo Del Monaco. Live performance at Teatro Massimo, Palermo, January 2008.

Dynamic 33581 [2DVDs]

$48.49  Click to buy

Indeed, the original, no longer extant, version of this work was approximately six hours in length. Even in the severely truncated revised version, Mefistofele has always proven itself to be a serious work, with a libretto that (like Busoni’s Doktor Faust) has some real literary merit. Unfortunately, following the reigning spirit of Regieoper in Europe, director Miguel Del Monaco and set designer Carlo Centolavigna have all but denuded this great opera of its serious intent.

Opting for a 20th-century setting (which in and of itself is not a problem), the “creative” team behind this production has missed the central point of Boito’s (and by extension, Goethe’s) drama, namely, the age-old Platonic opposition of the real and the ideal, in this case, represented by the Margherita/Elena (Helen of Troy) duality. While the ever-reliable Dimitra Theodossiou is afforded the opportunity to continue the tradition of performing both roles, the intention behind this appears to be economic rather than dramatic.

Act I is set in Frankfurt during Easter Sunday, but it is in the Germany of the 1920s, not during Martin Luther’s time. This is at best a questionable tactic because the seemingly peaceful interregnum of the Weimar Republic had such terrible consequences in the following decades. Overloading the already heavily-laden symbolism of the Faust legend with the tragedy of modern German history helps to obscure Faust’s personal dilemma. Adding to the incoherence of the staging, Del Monaco then proves not to have the courage of his convictions by at least being consistent with the historical implications of his staging of Act I, and sets Act IV, the Night of the Classical Sabbath, in Las Vegas. Helen of Troy is reduced to being a showgirl in a tawdry stage show and her attendant Nymphs reminded me of the June Taylor Dancers who used to open the Jackie Gleason TV Show of the 1960s with overhead shots featuring kaleidoscopic choreography.

The ultimate consequence of this staging of Mefistofele is that the characters of Faust and Margherita/Elena are reduced to mere appendages of Mefistofele’s mercurial personality. One of the problems with this opera has always been the overshadowing of Faust and Margherita by Mefistofele. Del Monaco’s staging has exacerbated tenfold this dramatic disparity.

The one saving grace of this production is Ferruccio Furlanetto’s Mefistofele. His performance incorporates a spectacular bass voice with animated acting. The acting, at times, may appear to be a bit over the top, but it is forgivable given the imbecility of the staging. Indeed, Furlanetto’s performance helps to divert attention away from the visual and back to the musical, and for that we must be grateful.

To be charitable to the performers, I thought that the singers and orchestra performed rather well, but at times it was difficult to gauge this accurately since this DVD suffers from very poor balance. Even allowing for the recording difficulties inherent in a live performance, there is really no excuse in this day and age for a professionally recorded DVD to have such poor audio quality.

This DVD will have appeal mostly to fans of Ferruccio Furlanetto. My advice is to turn off the video and listen to the voice.

William E. Grim

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):